David Linton

David Linton: Cortical Degausser 
OPENING ON: FRIDAY, January 11TH 7:00 - 11:00PM. 
ON VIEW THRU January 27TH, 2013.

First installed at the conclusion of a 2011 Residency at the Clocktower Gallery, Cortical Degausser is a site-specific Intermedia installation in which visitors experience pulsating harmonic bands of colored light “Flicker” and synchronous sound “Drone” ( both generated from a fundamental frequency range of 10-15 Hz ) delivered via video signal that is in turn mediated by parabolic diffusion screens. The immersive relational environment thus established stimulates neurological mechanisms within each viewer’s own visual cortex triggering the spontaneous display of self animating geometric patterns which appear to hover in space in front of the subject’s field of vision with eyes either open or closed.

David Linton (born Newburgh NY 1956) is a Time based multiple media artist traveling the vectors of sound, subculture, and signal flow. He has been active in the downtown NYC experimental arts community for 30 years. Originally a percussionist, David has created sound, music, and something in between, for many collaborative dance, theater, & performance settings since his arrival in NY at the end of 1970's. By the later 80's - after a good deal of percussion work along side other musicians: Lee Ranaldo, Rhys Chatham, Glenn Branca, Elliott Sharp among others - he was equally known for his live wired solo electro-acoustic drumkit performances as well as his soundscore productions. His 1986 solo Lp "Orchesography" was an unlikely collusion of street beats, early sampling tek, and theatrical post modernism. By the early 90's he had retired from performing in the live electro-acoustic vein to concentrate on the vocabulary of entirely electronic music and the resultant paradigm shift in performance priorities that this new 'compressed' format suggested. Throughout the 90's Linton became a dedicated advocate for the expansion and appreciation of realtime performance in electronic media through the design and/or production of event/environments such as 'SoundLab' (1996) and eventually 'UnityGain' (1997-present). From 2001 Linton's fascination with instantaneous collaborative audio visual communication among select units of electronic sound and visual artists assumed the form of a live experimental television Manhattan cable/webcast project - UGTV - Unitygain Television (2001-2004) - for which he was producer/director - and occasional performer. In 2004 David embarked upon his present course with the launch of his solo audio-visual project: the Bicameral Research Sound & Projection System. With his "Bicameral Research Sound & Projection System" (2004) Linton aims to make vibrational wave induced perceptual energy states manifest by deploying interconnected measures of electric sound & pulsing light in live action with hand manipulated objects in physical (live camera) space. He employs an integrated recursive audio & video feedback system of his own perversely simple design modulated by freehand intervention to deliver vigorous eye, ear, and - sometimes - body shaking realtime audio visual performances from which a kind of retro-tech animist ritual "medicine show" emerges where subject and object blur. Thematically David likes to consider that within the 20th Century 60 Hz alternating electrical current gradually came to function as a primary subliminal Prana in the mass bio-energetic body/culture of human life in North America...

Daniel Temkin - 98.1034 Bottles of Beer on the Wall

OPENING: FRIDAY, OCTOBER 5TH 7:0011:00PM. ON VIEW THRU OCTOBER 28TH, 2012.

98.1034 Bottles of Beer on the Wall

98.1034 Bottles of Beer on the Wall provides drunken encounters with compulsive systems. A program continually preens itself, inserting lines of code to change its visual representation, but along the way, introducing glitches and new patterns of behavior. A therapist program tries to dispense advice as her logic slowly breaks down. Sound editing software turns simple geometric shapes into hallucinatory landscapes. Photoshop generates intricate patterns in an attempt to hide visual compression. A book displays the abuses and absurdities of the DNS system, an addressing apparatus that has seemingly exhausted meaningful combinations of English words.

Daniel Temkin (b. 1973, Boston, MA) lives and works in Queens. He holds an MFA in photography from the International Center of Photography / Bard College. His work focuses on the breakdown of communication and on the inherently broken patterns of thought that distance us from the world. He is currently serving as artist-in-residence at Harvestworks for their one-year New Works residency.

His work is included in Rhizome at the New Museum’s ArtBase collection. Galleries and institutions that have exhibited his work include Devotion, Higher Pictures, American University Museum and Columbia University's Macy Art Gallery. His work has been featured on PBS’s OBook series and on Fast Company’s Co.Design blog. He has presented at conferences such as Media Art History (Rewire) in Liverpool, GLI.TC/H at School of the Art Institute, the College Art Association’s New Media Caucus at School of the Visual Arts and SlideFest at School of the International Center of Photography.

Algorithmic Unconscious

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